Passacaglia and Fugue

Passacaglia and Fugue

J. S. Bach

BWV 582

Arranged by Peter Billam

For Piano Four Hands

© Peter J Billam, 2002

This score is offered under theCreative Commons Attribution 4.0 International

licence; seecreativecommons.org

This edition 17 February 2014.

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Passacaglia and Fugue in c minor

The Passacaglia et Thema Fugatumin c minor, BWV 582, is one of the first fruits ofBach’s early mastery. Probably written at Arnstadt, where Bach was from 1703 to 1708,it sythesises its models, Buxtehude, Reinken, and the French style, but far surpasses themin dramatic intensity, in vigour, in its ability to affect and excite.

Johann Sebastian Bach was appointed in 1703 as organist of the new Wender organ in theNeue Kirche (now called theBachkirche), giving him for the first time in his life freeaccess to a fine modern organ. It would have been tuned at about A= 465, a semitoneabove modern concert pitch, probably in Werckmeister temperament.

The passacaglia owes debts to Buxtehude’s ostinato works, notably to his Passacaglia ind minor BuxWV 161. In mid-October 1705Bach walked the 400 kilometers fromArnstadt to Lübeck to visit Buxtehude, then 68 years old; he only had permission to beabsent for four weeks, but he stayed sixteen weeks, probably returning duringJanuary 1706. Probably Bach wrote his Passacaglia and Fugue afterwards, as heabsorbed his experience. ThePassacaglia has twenty variations. Thecantus firmusmoves to the soprano voice in bar 88, becomes florid at bar104, dissolves at bar 112 andreturns in triumph at bar 128.

For the fugue, the passacaglia theme is divided into two halves, the first half of whichenters in the alto, and the second of which, set in quavers, is its contersubject in the tenor.The fugue borrows Reinken’s "permutation fugue" idea, in which each voice enters withthe same series of subjects and countersubjects.So when the soprano enters in g minor inbar 174, the alto moves to the first countersubject in quavers and the tenor to a secondcountersubject in semiquavers; when the bass enters in c minor in bar 181, the tenorbecomes free counterpoint. The voices rotate themes again at bar 186 in g minor and bar192 in c minor.

The Passacaglia and Fugue is a summit of the organ repertoire; but there is also animportant tradition of playing it on stringed keyboard instruments. The manuscript,which according to Albert Schweizer vanished in the mid-1800’s, was apparently headedCembalo e pedale, and Schweizer opined that it was in erster Linie für das Cembalo mitPedal und erst in zweiter für die Orgel geschrieben(in Ernest Newman’s translation, "waswritten in the first place for the cembalo with pedal, and later arranged for the organ").Such instruments are rare these days, but Jakob Adlung, inMusica Mechanica Organoedi(1768), describes clavichords and harpsichords with pedals like an org an pedal-board.They would have been used mainly for practising organ pieces. Bachdid possess three ofthese, and according to Forkel, Bach "like to improvise on a two-manual clavier withpedal".

Marcel Dupré suggests 60 crochets per minute for both the Passacaglia and the Fugue.The american organist E. Power Biggs has recorded the Passacaglia on a harpsichord withpedals (made by John Challis); he suggests "The music seems equally at home in thesonority of strings or pipes, and it assumes a different individuality in each.Theharpsichord, perhaps, allows greater rhythmic suppleness and more tempo contrastsbetween variations". Hetakes the Fugue at about 76 crochets per minute, and most of thePassacaglia around 66; the variations at bars 40, 72, 96, 112 and 120 he takes around 52,that at bar 144 slower still at around 44, and the running variations at 80 and 88 muchfaster at around 100 crochets per minute. He usesinégale quavers from bar 24 andsemiquavers from bars 40 and 112. In addition, each variation is shaped with its own arc,moving fastest around its fifth or sixth bar.

The last quaver in bar 164 is usually granted a fermata and followed by a dramatic pause.Bach writes the upbeat to the Fugue, the middle C in bar 168, into the final chord of thePassacaglia; this note is often re-taken, in the tempo of the Fugue, after the end of thechord.

The aim of this arrangement for piano four hands is to make this music available to pianoplayers, and to make it as practical to sight-read as possible, to minimise the time spent inworking out details. The typical four-part texture is shared with two parts to each player;this divides the organ manual parts between the two players. Sometimesthis makes thevoice-leading less clear, but the original for organ can always be consulted.Somethought has been given to feasible page turns. Some registration decisions, such asadding octaves, have been made, and conflicts between parts have been resolved.

Peter J Billam, www.pjb.com.au

4 J. S. Bach


Arranged for Piano Four Hands by Peter J Billam.

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6 Passacaglia and Fugue, BWV582, J. S. Bach


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7Passacaglia and Fugue, BWV582, J. S. Bach


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una corda . . .

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molto rit . . .

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molto rit . . .

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Fugue 170

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Fugue 170

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ccBY

Peter Billam was born in London in 1948, studied piano, and lived in Switzerland from 1973 to1983, where he studied composition, classical guitar, flute and voice, worked as Musical Directorof the Théâtre Populaire Romand, and as recording engineer, record producer and computerprogrammer. He moved to Tasmania in 1983, and lectured in composition at the Conservatorium.He foundedwww.pjb.com.au, becoming the first composer to sell scores on-line, taking scoresfrom Composer to Performer in one immediate step.Www.pjb.com.auoffers a new approach tomusic publishing. These pieces arewritten to be read, made to be played !

Compositions at www.pjb.com.auinclude:Five Short Pieces, guitar, 1979;Divisions on an ItalianGround, flute and guitar, 1980;De ProfundisandNacht, on poems by Lama Anagarika Govinda, voice andpiano, 1980;Fünf Bagatellen, piano, 1980;Five Rounds, choir, 1986; Go Forth and Multiply, choir, 1986;Three Violin Duets, 1987; Fable, for piano, 1987;To Erich Jantsch, SAATTB recorders, 1988;A Suite ofCurves, trombone (or horn) and piano, 1990;Two Recorder Duets, alto recorders, or other melodyinstruments, 1991;Tr ombone Quintet, trombone, flute, piano, bass, and percussion, 1994;Three Songs, onpoems by Jack Kerouac, Vikram Seth and Dylan Thomas, voice and piano (only the first and third of these areavailable), 1994; Piano Study, piano, 1994;Four Dances, various ensembles including recorder quartet,string quartet, 1995;The Poet in the Clouds, on a poem by S. T. Coleridge,SATB choir, 1995;Tr es Casidasdel Diván del Tamarit, on poems by Federico García Lorca, voice and piano, 1997;Three Suites, for thesolo line, piano, and piano and a solo line, 2000;Die Zeiten, on poems by Kästner, Bachman and Jünger,choir (only the second and third of these are available), 2000;Three Duetsfor flutes, 2001;For Four Handsforpiano four hands, 2002;Three Preludesfor piano, 2003;Second Solo Suitefor flute, violin, viola or cello,2003;Guitar Duetfor two guitars, 2006;We Who Mournfor choir, 2007; Trio With Guitar for guitar andtwo clarinets or two recorders or two violas, 2008;Canonsfor two- and four-hand piano, 2009;Flute Trio,2012; Twenty Studiesfor piano, 2013-14;Music for Stringsand Two Encores for Stringsfor 2vln, 2vla,2vlc, 2015;Album for Choir, 2015.

Arrangements include: By J. S. Bach:Trio BWV 655, piano and flute;Vor deinen Thron BWV 668,piano;Fugue in F minor BWV 689, SATB recorders;Four Duets BWV 802-5, keyboard;Six Preludes andFuguesfrom Book I, keyboard;Flute Sonata BWV 1031transposed into G major for alto recorder andkeyboard;Flute Sonata BWV 1032completed by Peter Billam for flute and keyboard, also in C major foralto recorder, and in G major for descant;Ricercare a 3, from the Musikalisches Opferfor keyboard;Ricercare a 6, for sSATBG recorders, or strings, or two keyboards; andFuga Canonica in Epidiapente;from theArt of Fugue: Contrapuncti 1, 4 and9 for keyboard, andContrapunctus 14as completed by D. F.To v e y, for keyboard, or for SATB recorders, or for strings;Passacaglia and Fugue in cfor piano fourhands;Chorales with Descantfor melody instrument and piano;Cello Suites I, II and III for flute or altorecorder,Forty Chorales for piano,Der Geist hilftfor SATB-SATB recorders. By Brahms:Fugue in Abminor for organ, for SATB recorders and gamba, in A minor;Choralvorspiele for organ plus settings byIsaac, Bach, Praetorius, recorders.John Carr, Divisions on an Italian Ground, flute or recorder and guitar.Franz Liszt,Late piano pieces, G.F. Händel: Concerto Grosso in A minorop 6 no 4, harpsichord andrecorders;Recorder Sonata in Bbno 5, in G for tenor recorder and keyboard. ClaudioMonteverdi, EccoMormorar l’Onde, SSATB recorders. Arnold Schoenberg: Verklärte Nacht for piano. Franz Schubert:Four Songs, voice and guitar;Dances, recorders and guitar, Dances, piano 4 hands.Scriabin,Two Preludesop.67; Five Preludes op.74, piano. Telemann,Twelve Flute Fantasias, recorder. Wilbye, Draw on sweetNight, SSATTB recorders, and for flute choir. Twelve Italian Songs, voice and guitar;Seven English Songs,voice and guitar;Fourteen Folk Dance Tunes, recorder and guitar;Bushband Dances, violin, accordeon andbanjo;Easy Classical Pieces, Bb trumpet and piano;Famous Beginnings, for piano.

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Passacaglia and Fugue

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